Manual for Appreciating the Japanese Sword ‘The Nipponts (Japanese sword) is said to have virtually no parallel in any other forms of art made of iron, Our anscestors pursued aesthetic beauty even in arms and armour and swords were revered as treasures, Each sword is characterized by its refined shape, thoroughly forged and polished steel surface ‘and beautiful temper patterns which represent specific eras and schools of its maker. What we call the Nipponts includes vs blades such as ken, naginata and yari in addition to the more common tachi, alana, wakizashi and tanta. Tacki: When you look at swords in museums, those displayed with the sharp edge down are called tac. From the Heian through the early part of the Muromachi period, swords were worn slung from a cord tied around the hip. Tachi usually have a high curvature, sori, and the length is usually between 65 and 70cn. Kalana: This form of blade replaced tachi in the ‘middle of the Muromachi period and was in use until the very end of the Edo period. They were 60.6 em (2 shakx) long or more, but usually they are 1s forms of Parts of sword morse suet Shapes ete iri sur riba on one side} essai morohazueuri——Birihasaburs HOBO ny aye somewhat shorter than tachi Contrary to the way a tachi was worn, a Aaiana was stuck in the waist sash with its edge facing up. ‘The term Aatana also includes those swords which were originally made as tachi but were shortened by suriage. They are displayed in the same manner as ordinary atana, Some of the swords produced in the Shinto period by a group of swordsmiths in the Hizen province, and also those produced in the ‘Shinshinto period at the end of the Tokugawa ‘Shogunate regime, were formed in the tachi style. Wakizashi: Swords in lengths between 30.30n (1 shaku) and 60.60en are called wakizashi, and were worn on the waist like katana, Those that are fairly short, around 36-40en (1 shakw 2-3 sun) are classified ko-wakizashi. During the Momoyama and the ensuing Edo period, a wakizashi was worn with mit gashira Goint of Fl {| nies: nohagoiré a alana a8 a dai-shd (a pair of large and small swords) Tania: Swords shorter than 30.3ea are called tant. Koshi-gatana is another word for those very short swords. In old days, the term katana meant santa. Structure (Isukwri-homi): Japanese swords are made in various styles such as hira-zukuri (flat, ridgeless), shinogizukuri (longitudinally ridged closer to the back), Aiviha-zukuri (longitudinally ridged closer to the cutting edge), and moroha-zukuri (double- edged). Forging (kitae): In order to fill the requirements of ‘good Nipponto which should resist breaking and bending, a bar of soft core steel (shingane) with a lesser carbon content wrapped by a hard skin steelTemper patterns in the point hakihobe Somaru homart sakisiome (kawagane) with a higher carbon content goes through the forging process. For the outer material, the so-called tama-hagane (steel manufactured in traditional charcoal forges) is used, and the layers of steel combined are folded and hammered repeated: ly, as many as fifteen rounds. ‘The wide variety of steel surface markings thus produced are called by such names as itame (wood grain), mokwme (burl grain), masame (straight grain), nashiji (pear-skin-like tight and even grain structure) and ayasugi (concentrically curved lines of grains). Other grain formations include jé-nie individually discernible grains lining the overall grain patterns on the stee! surface or ji), chiket (short, curvy lines of mie grains), and uisuri (misty darkish areas in the jf parallel to the temper pattern), and they represent individual swordsmiths as well as traditional and local schools. Nie and noi: In the process of tempering, the edge pattern or hamon is produced as the border showing the difference in the hardness of steel. Nie and nai appear where the temper pattern and the steel surface markings in the ji meet. Nie are relatively coarse granular particles discernible with eyes whereas nioi are so fine-grained a microscope is needed to see them. While nie are compared to the individual stars shining in the sky, mio) can be compared to the misty line of the milky way. It was scientifically verified by Dr. Kunii Tawara (1872-1918), Japanese metallurgist, that the mixture of very hard steel component called marten- site and a medium hard substance formed as the result of tempering shows as nie and nioi when the blade surface goes through polishing on various kinds of whetstones. “Activities” of grains in the ji (blade surface) and fae (cutting section): By “activities” we refer to varied grain formations which make a sword more or less picturesque in appearance. Depending on the kind of formation grains make they are given names such as ashi (feet), 6 (leaves), sunagashi (drifting sands), hakikake (bloom's sweeping traces), uchinoke tong Ase chin is ee (flicks), Ainsuii (gold streaks) and so on. The most common inswii are formed of nie which come in thin and shiny lines in the edge section. Those that are rather thick and long are separately called inazwona (lightning). When similar grain forma tions are produced in the ji they are called chikei (scenery in the ji). Yubashiri (running hot water) refer to bands of nie conglomerating in limited areas, ‘The mie lining the grain patterns in the ji or the part of the blade other than the edge section and the back are called ji-née, When the blade surface is predominantly nie-structured, such a sword is called nie-deki, which mostly characterizes early Kamakura works and those of the Séshii school in general. Nioi-deki refers to swords whose steel surface is ‘mostly composed of misty mioi grains. Works of the Bizen school that came after the mid-Kamakura days as well as those of the Bitcha Ave school in the Nanbokuchs period represent nioi-dominant swords. ‘Temper patterns (hamon): In addition to the steel surface texture and the overall blade structure, temper patterns need to be studied to adequately appreciate the beauty of the Japanese sword. The ‘amon is a pattern created by means of tempering techniques chiefly devised to harden the cutting edge of the blade, ‘When a block of steel composed of core and skin metals is repeatedly folded and hammered into a rough blade shape during the process of forging, @ kkind of ceramic clay called yakiba-tsuchi is applied‘Temper patterns in chronological order PABA Pag | Poued winyeumy Ke2-ueioy 216to cover the entire blade surface. Then, spatulas are used to thin off the coating on the edge section to expose it to a greater intensity of heat as well as to produce certain edge patterns, Depending on how the scraping of the coating called ésuchidori is done, some blades are meant to have a plain straight temper pattern called suguha, whereas others come out with diversified kinds of irregular patterns called midarebe. ‘When the coating material dries, the blade is red heated in a charcoal furnace until it is ready to be quenched in cold water. This operation called Jakiire is considered to require the highest of skill and gut feeling based on experience and expertise. As illustrated, the term suguha represents varied kinds of straight hamon such as hiro-suguha (wide), hoso-suguha (narrow), as well as tight and thick straight lines. Midareta includes ko-midare (com- pact), chdji (clove shape), jiaka-chaji (multiple choji), kawazuko-chaji (tadpole-shaped —chaji), gunome (zigzag), kataochi-gunome (oblique zigzag), sanbonsugi (three-cedar clumps), notare (wavy undula- tion), t0ran (surging waves), hitaisura (all over the face), and sudareba (rattan blind) Point (Boshi): This term refers to the entire point section above the yokote(transverse ridge) which also called kissaki. The various sizes of the point and the types of temper patterns produced in it are characteristic enough to indicate specific individ. ual makers or schools as well as the age of production, and thus are very important elements in sword study. ‘The temper patterns in the bashi are given names such as g-maru (large semicircle), ko-mare (small semi-circle), midare-komi (irregular continuation), sakitsume (all the way up to the back), jizd (stone igure’s head), and Aen (flame). marks in the tang (sasurime): Yasurime are ilemarkings to finish the surface of blade handle called makago (tang). Each school and age of production has its own specific traits marking the ‘unpolished iron surface. Kiri, also called yoko, are right-angled parallel cuts and the most common type of markings, Katte-sagari ‘creates slopes going down toward the right, ie Aatte, from the left top. Swjikai is similar to hatte sagari but more acutely angled. When the slopes start from the right top they are called saka-sujikai O-sujikai is a more emphasized sujikai characteris: ing Ace and Samonji schools in the Kota period, Other markings include fakanoha, also called shida, which looks like a hawk feather, saka- takanoha like a reversed hawk feather, kata-sujikai that is kiri and swittai combined, all mainly marking the Yamato tradition, Aigaki looking like a check pattern and a common trait among Yamato, Mino, Naminchira in Satsuma and other schools, esd yasuri exclusive in Shinto works, and sensu looking like scraped surface found on the primitive non-curved type of Nipponlg (Jokoto) and earliest Kot. Engraving in the blade (horimono): Engraving in the blade already existed as early as the Heian period, and had practical as well as religious and decorative significance. This, too, reflects popular fashions of ages as well as traits of individual smiths and schools. Of the plain straight grooves called 60-hi most commonly carved in the’ blade, there are varied ways of designing the bottom end, such as akudome (square end), marudome (rounded end), hakinagashi (tapered to a point), and hakitashi (through to tang’s tip) The objects carved in Kot works in addition to the hi or grooves were mostly religious and included Bonji (Sanskrit), fen (dagger), Fudomyoo (an incamated image of Buddha), surikara (dragon entwined round a sword), Sanko-ken (blade with a three-pronged handle), gomabashi (a pair of sticks for religious rituals), lelters reading HACHIMAN DAIBOSATSU and NAMMYOHORENGEKYO and so on. In the Shinto ages, the carving increased its decorative importance, and popular motifs included Isurwhame (crane and tortoise symbolizing longev- ity), joge-nia (ascending and descending dragons), sho-chikw-bai (pine tree, bamboo, and plum blos: soms), and Mt. Hirai (a legendary mountain of + eternal youth) Chronological Characteristics of Japanese Swords 1 Jokots (Ancient times) References for this earliest period in sword’s history are found among those excavated from ancient burial mounds (4th-9th centuries) and the treasures preserved in the Shésdin built in the Nara period (8th-10th centuries) ‘These prototypes of the Japanese sword had no curvature, and were mostly formed in hira-zukwri «flat, ridgeless) or in Aiviha-zukuri (longitudinal ridge parallel and close to the cutting edge). 2 Late Heian-early Kamakura period (12th century) ‘The curved and ridged blade familiar to us as shinogi-zukuri tachi came into existence about this time. In addition to the ridges incorporated in the blade structure, this type of blade was characterized by a marked difference in width between the tip and the base. Also the curvature was marked withCHANGES IN THE SHAPE OF THE JAPANESE SWORD Ear Terme Bee ede (LCM Mle ROU Ma EU utee els pelts MCN eM UM UMM U MoU Meld eas (ere) BU aU eR Uae ULM ire) Ree MRL CM AC UL Merit eL| Polat le sme lM UTM =t LUAU Celtel alte] Shape of the late Muramachi Period Shape of the Momoyama Period (Keicho Era/1596-1614) Els aol MUMues Rem Memeo d Cun eats Maes) Shape of the late Edo Period Shape of Modern Times Shape of the middle of the Edo Period (Jokyo and Genroku Eras/1684-1703) before 980) nakura Period K Nambokucho (Koto times) 1181 - time: 3 1571 - 16 shinto times) : ) : Since 1877 (Before 980, the middle of POSH CoM aise Leal eL gy Bakumatsu Period : 1853 - 1876 eda leita tcefoshizori emphasized at the base and finberi form: ing a strong stretching line toward the back of the point. Representative artisans: Sanjo Munechika and Gojo Kanenaga in Yamashiro; Yasutsuna in Hoki: Tomonari and Masatsune in Bizen; Ichimonji Norimune and Sukemune in Bizen; Sedatsugu and Yasutsugu in Bitcho; Miike Tenta Mitsuyo in Chikugo:Yukthira in Bungo; and Naminohira Yu kiyasu in Satsuma Middle Kamakura period (Mid-13th century) ‘This period coinciding with the height of the samurai power based around the eastern capital of Kamakura gave birth to a most stately facki form consisting of ample thickness (kasane), little taper: ing in blade width toward the point, and ample convex curvature in the blade surface between the cutting edge and longitudinal ridge placed slightly closer to the back. The most popular kind of temper pattern was flamboyant choji. Tent were also manufactured in large numbers. Representative artisans: Awataguchi Kuniyoshi and Yoshimitsu in Yamashiro; Kuniyuki, Niji Kunito- shi and Rai Kunitoshi of the Rai school in ‘Yamashiro; Senjuin, Hoshd, Shikkake, Tegai and ‘Taema in Yamato; Kunimune, Sukezane, and Shintgo Kunimitsu in Sagami (Soshi); Ichimonji Yoshifusa, Sukefusa, Osafune Mitsutada, Nagami- tsu, Hatakeda Morlie and Sanemori, and Katayama Ichimonji Norifusa in Bizen; and Suke tsugu and Yoshitsugu in Bitch. End of Kamakura period (Early 14th century) ‘The blade shape became even more sturdily built and stately with a marked and almost uniform ‘width throughout its length. The point also became larger. The new kinds of temper pattems named gunome (zigzag) and notare (wavy undulation) began to appear. Later, mioi-structured temper patterns developed to a more nie-dominant struc: ture. Gord-nyad® Masamune in Soshd was a mas. ter smith who perfected the so-called niedeki style of swordmaking. Representative artisans: Rai Kunimitsu and Rai Kunitsugu in Yamashiro; Taema Kuniyuki, Hosho Sadayoshi, Tegai Kanenaga and Shikkake Nori- naga in Yamato of midlate Kamakura pe Yukimitsu, Masamune and Sadamune in Soshi; Norishige in Etch; Jitsua and Sairen in Chikuzen; EnjuKunimura, Kunisuke and Kunitoki in Higo. Nanbokuch® period (Middle to late 14th century) This period in the history of swordmaking fea tures extraordinarily long tachi measuring over 90.9en (3 shake). Tanto were also made in larger measurements formed in the hira-zukuri or ridgeless style, Many of those very long lachi were later shortened to be katana. Representative artisans: Nobukuni and Hasebe Kunishige in Yamashiro; Kaneuji in Mino; Kanemi- tsu and Chogi in Bizen; Tsugunao and Tsuguyoshi in Bitchi; and Samonji in Chikuzen, 6 Early Muromachi period (Late 14th-late 15th cen: turies) ‘The early Kamakura style swordmaking was revived and many kinds of fant and wakizashi were manufactured accordingly. Representative artisans: Nobukuni in Yamashiro; Morimitsu and Yasumitsu in Bizen (Oei Bizen school) 7 Late Muromachi period (Mid-16th century) In these warlike decades the predominant form of combat changed from cavalry action to massive infantry troop action. A type of sword called wchi- gatana worn cutting edge down through a sash wound around the hip gained popularity. After the civil wars in the O'nin and Bunmei eras in the middle of the 15th century, local battles broke out in many parts of the land and necessitated massive supplies of practical blades called kazu-uchi-mono. ‘To discriminate high quality custom-made works from those less carefully made ones, the former are called chamon-ucki. The Bizen and Mino provinces were the two major producers of such factory-made swords, Representative artisans: Heianjd Nagayoshi in Yama- shiro; Muramasa in Ise; Kanesada and Kanemoto in Mino; Sukesada, Katsumitsu and Kiyomitsu in Bizen. 8 Momoyama Period (1573-1614) In the history of Nipponto the swords manufactured prior to the Keichd era (1596-1614), which falls at the very end of the Momoyama period (Toyotomi Hideyoshi’s era), are called Koto (old swords), while those made afterwards up to the Bunka-Bunsei eras in the Tokugawa Shogunate Regime or Edo period are called Skint or Aram (new swords). Swordsmiths gathered around castle towns built by provincial feudal warlords. Development in transportation facilitated the supply of steel and other materials for manufacturing swords. It was this time when imported steel called Nanban-tetsw was added to the line of materials by some smiths. Representative artisans: Umetada Myoju and Ho- rikawa Kunihiro in Yamashiro; Nanki Shige- kuni, Echizen Yasutsugu. and Hankei in Edo; ‘Tadayoshi in Hizen. 9 Edo period (From Kan'ei and Shoho eras, 1624-43,Filemarkings tk eck Sanja sagihei ale sagari 1644-47, up to the beginning of the Bunka era, 1804) ‘The peace-prevalent atmosphere of the society was reflected in the novel, flamboyant temper patterns innovated during this period. Repesentative artisans: Nagasone Kotets in Edo; Izumi-no-kami Kunisada, Inoue Shinkai, Echizen- no-kami Sukehiro, Omi-no-kami Sukenao and Ikkanshi Tadatsuna in Osaka; Sendai Kunikane in Mutsu; Mondonoshd Masakiyo in Satsuma. 10 End of the Shogunate (Bakumatsu) period ‘The swords made since the Bunka and Bunsei eras are called either Shin.shinto (neo-new swords) or Fukkots (revival swords). Suishinshi Masahide from Uzen Yamagata and Nankai Tard Chéson from Tosa produced swords in Edo in their attempts to reproduce the styles and craftsmanship of Koto days, Taikei Naotane was Suishinshi's top student. Minamoto Kiyomaro from Shinsho also tried to reproduce swords in the Sdsha and Mino Shizu styles in the wake of the revival movement and gained a high reputation for his outstanding accom plishment. 11 Since the Meiji era (1868 -) With the arrival of modern times, a decree to Prohibit the wearing of swords deprived sword: smiths of their profession. In 1906, however, the Imperial government as: Shapes of tang J WY furizade(iants)—fanagate largely shortened signed two contemporary master swordsmiths to the positions called the Imperial Arts and Crafts Arti sans and thus the technology of swordmaking was assured of its survival. The present day sword world has since become prosperous and many artisans are involved in sword manufacture and interested in mastery of higher skills. Nippon Bijutsu Token Hozon Kyokai | The Japanese Sword Museum 4-25-10, Yoyogi, Shibuya-ku, Tokyo 151-0053 Tel. 08-3379-1386~7 Fax. 03-3379-1389 AA 7 utp: ouken.or:jp fanago bora foléed over